Chinese paper cutting

folk paper-cutting is one of the forms of folk art in China and has a long history. As the embodiment of China's original philosophy, folk paper-cutting has the characteristics of comprehensiveness, beautification and auspiciousness in the form of expression. At the same time, folk paper-cutting conveys the connotation and essence of traditional culture with its own specific expression language.

Paper-cutting is one of the most popular folk arts in China. According to archaeology, its history can be traced back to the 6th century, but people think that its actual start time is hundreds of years earlier. Paper-cutting is often used in religious ceremonies, decoration and plastic arts. In the past, people used to make objects and portraits of different shapes out of paper and bury them with the dead or burn them at funerals. This custom can still be seen sometimes outside China. Paper-cutting art is generally symbolic and part of this ceremony; In addition, paper-cutting is also used as an ornament for offering sacrifices to ancestors and immortals.

The art of paper-cutting is widely spread in the north. Now, paper-cutting is more used for decoration. Paper-cutting can be used to decorate walls, doors and windows, pillars, mirrors, lamps and lanterns, etc. It can also be used as a decoration for gifts, and even paper-cutting itself can be given to others as a gift. People used to use paper-cutting as a model for embroidery and painting.

Paper-cutting is made by hand instead of machine. There are two common methods: scissors and knife scissors. As the name implies, scissors are scissors. After cutting, several (usually no more than 8) paper-cuts are pasted, and finally the patterns are processed with sharp scissors. Knife scissors first fold the paper into several folds, put it on a soft mixture of ash and animal fat, and then slowly carve it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife scissors is that they can be processed into multiple paper-cut patterns at one time. In rural areas, paper-cutting is usually done by women and girls.

In the past, this was a handicraft art that every girl had to master, and it was also a standard for people to judge brides. Professional paper-cutting artists are often men, because only men can work together in the workshop and earn money.

Today, many people who study art express paper-cutting in various ways, such as the dance "Simplified Woman" and "Paper-cut Doll". I believe that with everyone's efforts, paper-cutting symbolizes that China's craft production will be carried forward!

composition method of paper-cutting

The basic material of paper-cutting is flat paper, the basic units are lines and blocks, and the basic language symbols are decorative points, lines and surfaces. In addition, due to the limitation of materials, paper-cutting is not good at expressing multi-level complex picture content, light and shadow effects and the volume, depth and fluctuation of objects and images, so it is only necessary to foster strengths and avoid weaknesses, and adopt head-up composition in composition, that is, to change objects and scenes from three-dimensional images to two-dimensional images. By boldly choosing the performance materials, deleting the complex and simplifying them, and summarizing them with concise lines, the focus of the picture is prominent, and the relationship between black and white is in contrast with reality, so as to enhance the expressive force of the work and express the world's objects with a flat eye, which determines the planarization characteristics of paper-cutting performance, that is, any image creation is * * * stored in a specific visual plane. Folk paper-cutting uses an expanded way of thinking and is extremely arbitrary. Under the scissors of the creator, paper-cutting has become a natural and bold creation without volume, space, perspective and proportion, relying on experience and spirituality. In order to express his ideas, the creator can break the objective laws of nature and the limitation of space, and put objects in different time and space on the same plane. This kind of static planarization can express three-dimensional, four-dimensional or even multi-dimensional space, and through dynamic thinking, continuously describe the world in your heart. Folk paper-cutting is to make a big fuss about the limitations of paper, gallop freely in the limitations, make the impossible possible, and simplify the three-dimensional world into a two-dimensional space. Infinite space and infinite complex shapes are placed on a plane, and the flat outline has become the modeling basis of paper-cutting. Therefore, the unique expressive force of folk paper-cutting is realized on the basis of the thorough concept of two-dimensional space. Paper-cut creators have played their true and pure artistic nature, broken the shackles of the objective world, and expressed their artistic objects in many angles, directions and levels.

This kind of composition thinking of folk paper-cutting is not limited by life practices and theme content, and it creatively organizes several images to make them have the functions of coherence, contrast and foil. This kind of expression technique of flattening and taking things enhances the subjectivity, space-time, three-dimensional and comprehensiveness of paper-cutting, and its ultimate goal is to pursue the integrity of modeling. The psychology of perfection is the foundation of all these. In folk paper-cutting, the foreground and background of the cut object appear on a plane, and the objects and images do not cover each other and do not overlap each other, so that we can see both the object in front of us and the object behind us completely, thus showing a strong decorative style. Out of simple thoughts, feelings and aesthetic stereotypes, the creator broke the obstacles to realization and used the method of unity of appearance and appearance to fully express the image. For paper-cutting, although the back, top, bottom or interior of the real object is invisible, it has inner feelings. It is reasonable to be invisible, but it is unreasonable not to cut it out.

In addition, the structure and expression of folk paper-cutting is not the simulation or reproduction of a static visual image from a fixed viewpoint, but a dynamic dialectic that fully integrates sensibility and rationality. China folk art does not pursue a sense of depth in perspective, but has an aesthetic identification of "seeing more and seeing all". Folk paper-cutting also embodies this aesthetic concept, which embodies the whole picture of things in two-dimensional space.

The composition form of folk paper-cut completely abandons the painting concept of "focus" perspective, which not only breaks the limitation of time, space and proportion, but also completely leaves the specific position of natural scenery and unifies the picture with the formal rules of primary and secondary images, symmetry and balance. At the same time, folk paper-cutting also has a scattered composition method, that is, different materials are independent and do not cross each other, and even each object has its own perspective point, and the author can arrange these different materials in the same plane reasonably. This is unreasonable in reality, but it is naturally reasonable in paper-cutting.

folk paper-cutting is not bound by the inherent shape of natural objects, and it is not satisfied with the simulation of appearance, and all the objects are represented on the plane. At the same time, in order to pursue the integrity and comprehensiveness of modeling, different scenes in different space and time are depicted.

The modeling means of paper-cutting

Folk paper-cutting comes from life, and the creators of paper-cutting express their understanding and understanding of life and nature in the special art form of paper-cutting, which is an expression of their inner feelings. Therefore, this artistic expression focuses on the expression of likeness rather than similarity. At the same time, due to the limitation of paper-cutting technology, it is not appropriate to adopt a completely realistic approach, but only to highlight the outline characteristics of the object, using deformation and exaggeration to highlight the characteristics of the object. Therefore, exaggeration and distortion have become one of the most commonly used expression languages in paper-cutting. Exaggerated deformation is the fruit of human creative labor and the crystallization of wisdom. Whether it is the painted pottery ornamentation of Yangshao culture, the graphic patterns of bronzes in Yin and Shang dynasties, or the stone carving art in Qin and Han dynasties, it shows its eternal artistic charm with the beauty of artistic exaggeration. As the direct carrier of primitive art, paper-cutting has outstanding performance in exaggeration and deformation. The performance content of folk paper-cutting mostly comes from real life, and mostly reflects the life and things around working people. However, it is not just a simple and intuitive simulation of the objects to be expressed in its works, but a usual standard that transcends the objective performance of reality and changes the nature and form of objects through exaggeration and deformation.

The creators of folk paper-cutting regard paper-cutting as a part of life. The yearning for a better life and the worship of ancient totems are the main contents of folk paper-cutting. The expression of these themes full of folk customs, beliefs and philosophy can only be imagined subjectively, which makes the image of paper-cut arbitrary, and the depiction of inner images cannot be separated from exaggerated artistic language.

The exaggeration of folk paper-cut modeling is a process of organizing and standardizing complicated contents, not an objective description of nature. Therefore, the image in paper-cut is more prominent and eye-catching than the prototype. This is determined by the big historical and cultural background and living environment, and comes from a rich life. At the same time, it is also the basis of folk paper-cut modeling to deal with the raw materials of life and simplify them. Eliminating non-essential things, highlighting the parts with characteristics and personality, and turning complexity into simple artistic re-creation is the exaggeration of folk paper-cutting. Exaggeration emphasizes the characteristics of the object on the basis of ellipsis, and expands, shrinks, elongates, thickens and deforms the most special part of the object image, making the image more characteristic and artistic charm. In many folk paper-cut works, the facial modeling of characters can only see the eyes, because in people's minds, the eyes are the most vivid, so the creator exaggerated the human eyes.

The exaggeration of folk paper-cutting not only reflects the characteristics of objects and images, but also requires the purpose of decorative beauty, and shows the creator's spiritual pursuit of life in the effect of decorative beauty. In order to make the prominent parts more clear, concentrated and eye-catching, some decorative patterns are often added to the images to achieve perfect decorative purposes. The desire for beauty has also become one of the exaggerated contents. When expressing characters, the clothes of the characters are covered with flowers; When depicting animals, the fur on animals is exaggerated into a whirlpool shape, or patterns are directly added to them, which makes the original ordinary image transparent and shows strong decoration. Sawtooth and crescent are common decorative patterns in folk paper-cutting.

the creative process of folk paper-cutting is a process of evolution and deepening from the truth of real life to the beauty of art through exaggeration, and it is also a process of the creator's thoughts and feelings, aesthetic psychology and pursuit and embodiment of beauty. After long-term observation and understanding of life, and long-term practice, the creator understands the law of paper-cutting, and freely combines balanced, uneven, dense and irregular lines to form a wonderful rhythm and rhythm, which adds interest and enriches the appeal of the image.

Good wishes for paper-cutting

Folk paper-cutting is good at combining various objects and images, and produces ideal and beautiful results. No matter one or more image combinations are used, they are all modeled by "image implication" and "meaning conformation", instead of modeling according to the objective natural form. At the same time, they are good at creating a variety of mascots by means of metaphor and combining the agreed images to express their psychology. Pursuing auspicious metaphor has become one of the ultimate goals of image combination.

the main reason why folk paper-cutting can be widely spread for a long time is the performance function of welcoming the auspicious. The geographical closure and cultural limitations, as well as the intrusion of adversity such as natural disasters, have aroused people's desire for a happy life. People pray for ample food and clothing, prosperity, health and longevity, and all the best, and this simple desire is conveyed through paper-cutting. Folk paper-cut "deer and crane in the same spring" is the theme pattern of folk tradition. According to records, cranes are "dark birds", and dark birds are the general term for "migratory birds". In folk culture, deer is called "waiting for animals", crane is called "migratory birds", and deer and crane are symbols of spring and life. Folk deer is homophonic with Lu, and crane is regarded as a big bird with long life, so deer and crane together have the meaning of longevity. In the case of relatively low productivity of civil society, human labor becomes the guarantee of survival, and getting rid of the pain of illness and death is people's eternal ideal. Folk paper-cutting expresses the desire for life in various forms, protects life, praises life, shows the joy of life, and the worship of life becomes people's sincere belief. "Eagle Treading Rabbit" is one of the favorite flowers in the folk bridal chamber, and it is also a traditional pattern, which is widely spread among the people. Eagle means "Yang", just like chicken, bird and crow. In folk deification, the sun is called a "three-legged bird" and the people call the sun a "crow". Rabbit means "Yin". People call the moon a rabbit. Eagle stepping on rabbits is a metaphor for the love between men and women, which reflects the theme of reproductive worship. Sitting flowers and happy flowers, which are common in folk paper-cutting, express their worship and pursuit of life in a metaphorical way. Paper-cut works with the theme of "Buckling Bowl", "Grasping Bun Doll" and "Fish Cuo Lotus" abound and are too numerous to mention. The concept of praying for life has given inexhaustible blood and exuberant vitality to folk paper-cutting. The creators of paper-cutting always have firm and optimistic beliefs and endless hopes when they treat wealth and happiness. Paper-cutting is the external presentation of their ideal of creating a better life. Folk paper-cutting integrates these auspicious meanings into various ethnic activities to meet the spiritual and psychological needs of the general public, to support human survival and enrich human life. In folk paper-cutting, we can see many pictures reflecting production and life. These works have one biggest similarity, that is, they exaggerate the main body, such as big fish, big peppers, big silkworms and big grains. Through paper-cutting, people fictionalize a beautiful image; To comfort one's soul, to publicize one's great creativity in conquering nature, to establish one's ideal world, to affirm one's strength and to inspire people's courage to continue their struggle.

The expressive language of folk paper-cutting is not a simple and straightforward description, but a token message, which borrows those conventional conceptual images to pin people's longing for a better life and hope for good luck and happiness. All kinds of simple and grotesque paper-cut shapes, which contain frankness and beauty, come from the original visual thinking mode and folk aesthetic concept; It comes from a unique modeling system composed of a programmed system and image statues; The primitive philosophy and world outlook from China are even more touching.

Definition of paper-cutting

-"Paper-cutting is a kind of hollow art and the most popular folk art, which gives people a sense of emptiness and artistic enjoyment visually. Its carrier can be sheet materials such as paper, gold and silver foil, bark, leaves, cloth, leather, etc. "

editing the brief introduction of this paper-cut

Paper-cut is one of the most popular traditional folk decorative arts in China, with a long history. It is generally popular because of its readily available materials, low cost, obvious effect and wide adaptability. Because it is most suitable for rural women's leisure production, it can not only be used as a practical object, but also beautify their lives. Paper-cutting can be seen all over the country, and even different local styles have been formed. Paper-cutting not only shows the aesthetic taste of the masses, but also contains the deep social psychology of the nation. It is also one of the most distinctive folk arts in China, and its modeling features are particularly worth studying. As the embodiment of China's original philosophy, folk paper-cutting has the characteristics of comprehensiveness, beautification and auspiciousness in the form of expression. At the same time, folk paper-cutting conveys the connotation and essence of traditional culture with its own specific expression language.

On May 2th, 26, the paper-cut art heritage was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On June 8, 27, Shanghai Li Shoubai's paper-cutting master studio won the first cultural heritage day award issued by the Ministry of Culture.

the history of paper-cutting

China's folk paper-cutting handicraft art has its own formation and development process. China's paper was invented in the Western Han Dynasty BC (6th century BC), before which it was impossible for paper-cutting art to appear. However, at that time, people used thin sheet materials to make handicrafts by hollowing out carving techniques, but it became popular as early as paper did not appear, that is, the techniques of carving, engraving and cutting were used in gold foil.